Lynn Klemmer is a multimedia artist. She graduated at the National College of Art and Design in Dublin with a BA in Fine Art & Visual Culture (2017) and at the University of Potsdam with an MA in European Media Studies (2023).
Her practice works at the crossroads of analog and digital media, seeking to reconsider the place of the human in a rapidly evolving algorithmic, urban and natural landscape. By merging various visual elements, from natural imagery to digital symbols, advertisements and desolate urban structures, her films and installations suggest dissonant atmospheres and form hybrid audiovisual realities. 
She is also a co-founder of Mnemozine, a Luxembourgish interdisciplinary research and
art collective which manifests itself as a platform for experiments in philosophy, sociology and contemporary art practice. As co-director of Six Minutes Past Nine, she is currently hosting a new virtual research and studio program.
Electric Blue Video, 35 seconds, 2024 (commissioned by kultur.lx)

"Electric Blue" is a video pamphlet proclaiming art as an all-encompassing power-generating infrastructure.
Drawing from a blue inkwell of analog and new media, such as distorted RGB video signals, VHS footage of high-voltage towers, and digital video collages, the video playfully highlights the magnetic push-and-pull of artistic creation. Through juxtaposition and synergism of images, it creates a gyrating vortex to represent the process by which art upends the world.
Where art touches, its colours seep through; where art lets go, structures collapse. Where its buzzing is felt, the order is upset; where its flickering is seen, things are set in motion. A source without a signal, as invisible and permeating as electricity, it is pure connection, pure relation, electromagnetic intuition.



APPARATUS 2023 
MUDAM residency with MNEMOZINE.

APPARATUS is a collaborative project designed together with my art and research collective MNEMOZINE.
Over two weeks, we experimented with the concept of technological obsolescence and how past media may resurface with new vigour in the digital age.
Two video works, L.I.S.A. and What Fires Together Wires Together, were exhibited alongside projects by MNEMOZINE and other international collectives in MUDAM’s East/West Galleries for their exhibition THE COLLECTIVE LABORATORY, 27.11.23 - 14.01.2024.

 
Photos © Fabrizio Vatieri


Works In Progress 2023 
Documentation of my residency at Kulturfabrik (2023).

New installation concepts and video works responding to research questions about witchcraft and witch hunting, the act of predicting the future, accidentality and new media.





Early look at an ongoing collaborative photography series created together with Mathieu Buchler.
















L.I.S.A. is an ongoing series of experimental reflections on screens, fictions and reality.

L.I.S.A. Film 2023
“L.I.S.A.” is an eight-minute single-channel video. It shows a sequence of unedited and edited scenes captured from unencrypted CCTV camera feeds. It contains a poem in the form of yellow subtitles as well as an audio piece and is intended to act as a seductive veil whose secret one seeks to lift. By delving into this sequence of poor-quality videos, the viewer is supposed to invent a narrative, imagine characters and relationships between the images. The project reveals a mediating, fictional level in our experience which distorts the relationship between subject and reality.
















L.I.S.A.: Act I, Three-channel video installation 2023
“L.I.S.A.: Act 1” is a video installation that shows a heavily draped blue curtain from multiple angles while an atmospheric sound piece plays in the background. The entrance and exit into and out of the exhibition context are covered with transparent, blue PVC strips, and fossils of industrial tubes are placed in front of the projection, evoking a shattered, ruinous landscape.
The installation questions how screened images reveal themselves to us and highlights the material, phenomenological and fictional layers they traverse. As such, the work attempts to open up the question of whether screens themselves act as a type of transparent curtain which, maybe mischievously, maybe constitutively, disappear in our perception of the images they contain.